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Themes in Art Past and Present Professional Learning for VCE Art, Studio Arts And AusVELS Visual Art teachers Thursday 5 December, 2013 Themes in Art Frank Cadogan Cowper Jan Nelson England 1877 – 1958 Australia 1955 Vanity Walking in tall grass (Tom) 1907 2009 Oil on panel oil on linen Winner 2009 Arthur Guy Memorial Painting Prize Notes prepared by Helen Attrill, Education Officer, Bendigo Art Gallery Tel: 54 346082 Email: [email protected] W: www.bendigoartgallery.com.au 1 The Big themes Introduction Bendigo Art Gallery’s extensive collection of over five thousand artworks from the 18th century to the contemporary era provides the opportunity for students and teachers to view a range of of themes over different periods. When the re-development of the Gallery’s display spaces opens in March, 2014, students and teachers will be able to view a greater breadth of artworks firsthand than ever before whilst being able to supplement their viewing with visits to special exhibitions of international significance. Viewing the artworks firsthand provides many unique sensory and educational experiences for students. This includes being able to appreciate the aesthetics and fine nuances of the artworks, comprehending three-dimensional works from all angles, marvelling at the immensity of large scale artworks and understanding the display of artworks in a museum context. The vast range of artists and styles within the Bendigo Art Gallery collection also enable students to learn about the ideas communicated by artists within the same theme but across different historical and cultural contexts. Some of the most common themes in art history represented at Bendigo Art Gallery are: Portraiture Landscape / Nature Identity Social Commentary Animals Architecture / the built world The human form Identity In addition to being able to view Australian artworks from the 19th to 21st centuries and international artworks from the 18th to early 20th century from the permanent collection, students visiting Bendigo Art Gallery in first semester, 2014 will have a rare opportunity to view important British artworks by major artists in Genius and Ambition: The Royal Academy of Arts, London 2 March - 9 June 2014. Genius and Ambition will draw on the wealth of the Royal Academy in England’s holdings, ranging from paintings and sculpture to works on paper (drawings and prints) and historic books. The exhibition will focus on what is often referred to as ‘the long 19th century’, from 1768 to 1914. This allows for the inclusion of such stellar artists as Reynolds, Gainsborough, Constable, Turner, Leighton, Millais, Waterhouse and Singer Sargent. To complement this international exhibition, Bendigo Art Gallery has curated a second exhibition, Australians at the Royal Academy, featuring more than 30 significant works by Australian artists whose works were displayed at the Royal Academy including Tom Roberts, Arthur Streeton, Rupert Bunny, George Coates, George Lambert, Agnes Goodsir, and E Phillips Fox. Genius and Ambition is an ideal exhibition for students to learn about many of the important painting genres from the 18th and 18th centuries that lead into 20th century art. The exhibition also enables comparison and contrast of the representation of common themes such as portraiture and landscape with those in the Bendigo Art Gallery permanent collection. The exhibition provides a unique opportunity for students to experience the viewing of major international artworks first hand, in Bendigo. 2 Themes Portraiture Contemporary Australian portraits in the Bendigo Art Gallery collection Del Kathryn Barton, Zhong Chen, Jan Nelson Del Kathryn BARTON Australia 1972 i ate the rainbow up … … … 2008 acrylic, gouache, watercolour and ink on canvas The Gift of Grace and Alec Craig, Bendigo, Victoria 2009 Del Kathryn Barton explores the themes of figuration, fecundity, nurturing and life in her highly detailed paintings and sculptures. Many of her artworks are deeply personal, drawing on her feelings as a mother of two and her childhood spent on an agora goat farm. Barton’s work combines traditional painting techniques with contemporary design and illustrative styles and she is renowned for her collaborative work with the Australian Fashion label Romance was Born. In Postmodern style, her paintings draw from a range of influences from different periods and cultures, including the decorative yet slightly sexual element in the paintings of Gustave Klimt, the patterning of Japanese artist Yayoi Kusama, Indian miniatures, Aboriginal dot painting; Tibetan Mandalas, the strange but cartoon-like figures of outside artist William Darger and the plan view of the figure used by Egon Schiele, but the one she identifies with the most is British artist Chris Ofili, renowned sensationally for his highly decorative black Madonna paintings using elephant dung. Barton’s painting i ate the rainbow up … … …is similar to her Archibald Prize winning work You are what is most beautiful about me, a self portrait with Kell and Arella, in the use of the crowded composition and nurturing figures. In i ate the rainbow up……; the children are replaced with two female figures, using the decorative element of a multicoloured scarf to bind them together. The theme of relationships is emphasised with the unifying lines of the scarf and the consistent patterned background, this time with dots and stars, suggesting a never ending cosmos. Studio Arts Area of Study 3 Units 1 & 3; Area of Study 2 Unit 2 Influences 1. How does each influential artist listed above show in i ate the rainbow up? on her work. How are these influences symbolised in her work? Materials and Techniques 1. Discuss the variety of painting and drawing techniques used by Barton. How are these techniques used to express her ideas? How is her use of media different to traditional painters such as others on display in Bendigo Art Gallery? Communication of ideas and meaning 1. What symbols in the artwork link to experiences of personal significance for Barton? 3 Elements and Principles of Design/ Aesthetic Qualities 1. Explain how Barton has used dominant elements such as line, colour and shape to create the aesthetic quality of a dominant focal point. Style 1. How does Barton’s work challenge traditional understandings of portraiture in Art? Discuss how the layering of different techniques, inspired from different times and cultures result in a Postmodern style. Consider the formal elements, techniques and symbols used by the artist. VCE Art Analytical Frameworks Formal Framework 1. Investigate the style of Del Kathryn Barton’s art works and discuss the influences on her work. How are these influences symbolised in her work? 2. Discuss Del Kathryn Barton’s use of techniques in her work. How are these techniques used to express her ideas? Personal Framework 1. What symbols in the artwork link to experiences of personal significance for Barton? 2. How has Barton used design elements and principles to link the ideas in her work? Contemporary Framework 1. How does Barton’s work challenge traditional understandings of portraiture in Art? Consider the formal elements, techniques and symbols used by the artist. Del Kathryn BARTON Australia 1972 i ate the rainbow up … … … 2008 acrylic, gouache, watercolour and ink on canvas The Gift of Grace and Alec Craig, Bendigo, Victoria 2009 4 Zhong Chen born China 1969 arrived Australia 1989 Concubine VIII 2003 Oil on canvas Gift of Dr Clinton Ng through the Cultural Gifts Program 2011 Zhong Chen is one of a dynamic group of Chinese born artists working in Australia who emigrated during China’s Cultural Revolution in the late 20th century. After arriving in Australia at the age of 19, in 1989 he studied art in Australia and England, exploring both contemporary and cultural issues. He continues to explore issues of cultural identity, transcultural identity, belonging and place. Concubine VIII is one of a large series of pixel paintings in which he drew from a range of images and symbols often used by Chinese artists such as portraits, animals and landscapes, opera characters, Door and Imperial Gods. The folk art of China is an important part of the everyday and popular culture. By using traditional Chinese inspired images Zhong conveys a sense of his cultural identity. Zhong uses the pixel as a symbol of the contemporary world that we live in. Chen paints in a range of styles including drip painting but the development of his ‘pixel paintings’ in 1999 cemented his place in Australian art and scored him entry in a number of prizes including the Archibald Prize. These paintings involve reproducing popular Chinese Posters enlarging the pixels and this questions and comments on the reproduction and portability of images in the 21st centuries whilst also referring back to his traditional Chinese culture. The flatness of the images also draws inspiration from the flatness in traditional Chinese woodblock prints. Themes of new technology, time and place are addressed in Concubine VII. Beginning with small sketches and paintings, Chen draws inspiration from everyday life, contemporary subjects and traditional Chinese ladies to blend the ancient themes of Chinese culture with a dynamic and ever-changing new world. Portraits, landscapes and animals are integral to traditional Chinese ink brush painting. Chen’s pixel interpretations combine a deep respect for the culture of his birthplace with the symbolism of our contemporary, rapidly evolving world. Modern digital technology meets ancient, time-honoured culture in Chen’s pixel portraits: a computer age artistic interpretation. Influences Like many Chinese born Australian artists, Chen’s art is a fusion of Eastern and Western cultures. He is inspired by traditional Chinese culture such as Chinese folk art prints, traditional Chinese ink brush painting, folk paper-cuts and Ming and Qing porcelains. Studio Arts Area of Study 3 Units 1 & 3; Area of Study 2 Unit 2 questions Influences/ Style 1. Research the influence of Pop Art and contemporary Chinese art on Chen’s painting practice.
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